The horizontal line represents the person’s life.1585 - born1669 - died

Crayer, GasparDe

, an eminent artist, was born at
Antwerp in 1585, and was a disciple of Raphael Coxis, the
son of that Coxis who had studied under Raphael; but
Crayer soon shewed such proofs of genius, that he far
surpassed his master, and therefore quitted him. Afterwards he made judicious observations on the particular
excellencies of the most renowned masters, and taking
nature for his constant guide, formed for himself a manner
that was extremely pleasing. The first work which established him in the favour of the court of Brussels, was a
portrait of cardinal Ferdinand, brother to the king of Spain,
a full length, as large as life, in which he succeeded so
happily, that when it was viewed by the court at Madrid
it laid the foundation of his fame and fortune. The king
sent him a gold chain with a medal; and added, as a farther
instance of his favour, a considerable pension. The testimony of Rubens was also highly in his favour, who went
to Antwerp to visit Crayer, and after examining attentively
a picture of his painting in the refectory of the abbey of
Affleghem, he publicly declared that no painter could
surpass Crayer. Nor was he less distinguished by Vandyck, who always expressed a friendship for him, and
painted his portrait. It has been said that he had somewhat less fire in his compositions than Rubens; but that
his design was frequently more correct. Yet, says Mr.
Fuseli, let not this high strain of commendation seduce the
reader to imagine that Crayer was a painter of the same
rank with Rubens. If he was more equal, the reason lay
in his inferiority. Rubens had the flights, the falls, and
| the neglects of genius. Crayer steered a middle course,
and preserved dignity by caution. His composition generally consisted of a small number of figures; and he very
judiciously avoi ded the encumbering his design with superfluous particulars, or loading his subject with any thing
that seemed not to contribute to its elegance. He grouped
his figures with skill, and his expressions have all the truth
of nature. There is a remarkable variety in his draperies,
and an equal degree of simplicity in their folds; and his
colouring is admirable. Of all his contemporaries he was
reckoned to approach nearest to Vandyck, not only in
history, but in portrait. He principally painted religious
subjects, and was continually at work; and although he
lived to a great age, yet his temperance and regular habits preserved the full use of his faculties; and to the last
month of his long life his pencil retained the same force
and freedom which it possessed in his most vigorous days.
He died in 1669, aged eighty-four. The subject of the
picture which was so highly honoured by the approbation
of Rubens, is the centurion alighting from his horse to
prostrate himself at the feet of Christ. Yet sir Joshua
Reynolds says of it, that though it cannot be said to be
defective in drawing or colouring, it is far from being a
striking picture. There is no union between his figures
and the ground; the outline is every where seen, which
takes away the softness and richness of effect; the men are
insipid characters, and the women want beauty. The composition is something on the plan of the great picture of
Rubens in the St. Augustins at Antwerp: that is, the subject is of the same kind, but there is a great difference
indeed in their degree of merit. 1

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